DOCSLIB.ORG

MAD Visionaries!

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
MAD Visionaries! Press Release MUSEUM OF ARTS AND DESIGN TO PRESENT ANNUAL VISIONARIES! AWARDS NOVEMBER 20, 2013 The Evening Will Honor Materialise CEO and Founder Wilfried Vancraen, Artist Frank Stella, Vilcek Foundation Executive Director Rick Kinsel, and Designers David and Sybil Yurman NEW YORK, NY (November 5, 2013) – On Wednesday, November 20, PRESS CONTACT 2013, the Museum of Arts and Design (MAD) will host its 2013 Visionaries! Claire Laporte/Carnelia Garcia Gala, celebrating five influential creators and leaders in the art, craft, and Museum of Arts and Design design industries, whose work personifies the Museum’s mission to explore 212.299.7737 and celebrate contemporary creativity across all media: [email protected] • Wilfried Vancraen, Chief Executive Officer and Founder of Materialise, an international additive manufacturing company started in Belgium. MAD PRESS RESOURCES For more than twenty years, Materialise has been working with image library designers and scientists to help expand design, manufacturing, and release as .pdf biomedical research into new frontiers, while remaining committed to artistic creativity, sustainability and the improvement of people’s lives. MAD LINKS • Frank Stella, legendary painter and printmaker, most noted for his Minimalist, Post-Painterly Abstract works has challenged ideas collections database of abstraction and of painting itself by negating the evidence of facebook brushwork and asserting the flatness of the canvas. Today, Stella youtube continues to explore new forms and aesthetic avenues in creating flickr multidimensional, hybrid sculptures that combine painting with twitter geometrical and architectural elements. • Rick Kinsel, Executive Director, The Vilcek Foundation. For more than 10 years, the Vilcek Foundation, under Kinsel's leadership, has been an important philanthropic supporter of the arts and sciences. It is committed to honoring the contributions of immigrants to American society and has founded several programs recognizing both emerging and established artists and designers. • David and Sybil Yurman, founders and creative directors of David Yurman, the brand and company, will be honored for their enduring contributions to the world of style internationally. David Yurman, long an innovator in the world of jewelry, will celebrate 30 years of its iconic cable design in 2014. Over the last three decades, David Yurman has created an indelible legacy of craftsmanship and innovation. This year’s Visionaries! Awards will celebrate MAD’s 5th anniversary at 2 Columbus Circle and the dramatic growth of the institution since its move, while looking ahead to an exciting roster of exhibitions and programs for 2013-2014. Since moving in 2008, MAD has welcomed more than a million visitors onsite, tripled its membership and greatly expanded its exhibition and educational offerings. Visionaries! is the Museum’s most important annual fundraiser supporting MAD’s exhibitions and educational programs. Every year the Gala honors leaders and innovators in the fields of art, design, philanthropy and business, who through their work demonstrate foresight, imagination, and a commitment to supporting creativity in all its forms. Proceeds are directed to the support of MAD’s Arts Education program. This year we expect to serve nearly 10,000 children, grades K–12, and from mostly underserved communities. Each year, more than 500 guests, including arts patrons, artists, designers and noted corporate and civic leaders attend the event. “MAD is thrilled to be honoring such a range of visionaries in this anniversary year, which demonstrates the scope and depth of MAD’s exploration of contemporary creativity,” said Lewis Kruger, Chairman of the Board of the Museum. “The outstanding achievements of this year’s honorees as leaders in varied creative fields are an inspiration to us all. Their work has moved and influenced many of us as museumgoers, the creative world at large, and aspiring artists and makers, and will continue to do so for generations to come.” Held this year at the Mandarin Oriental, Visionaries! will begin with a cocktail reception and silent auction featuring work by artists who have been represented in recent exhibitions at the Museum, as well as luxury goods, design items, travel getaways, and dining packages. Dinner and an awards presentation will follow. Opened in 2008, the Jerome and Simona Chazen Building at Columbus Circle has allowed MAD to advance its institutional vision and mission of celebrating the craftsmanship and creative processes of contemporary artists and designers from around the world. In the last five years, MAD has expanded its exhibitions program, underscoring contemporary creation and addressing the increasing cross-pollination of contemporary art, design, and craft. Among this programming is the exhibition Out of Hand: Materializing the Postdigital which features work by Frank Stella and from Materialise, as well as the "Materials and Process" exhibition series, which investigates how artists and craftspeople transform and approach specific materials as traditional as paper in Slash: Paper Under the Knife (2009) and wood in Against the Grain: Wood in Contemporary Art, Craft and Design (2013) to more unconventional ones such as everyday objects in Second Lives: Remixing the Ordinary (2008) and organic materials that were once part of living things in Dead or Alive: Nature Becomes Art (2010). In that span of time, MAD has expanded its focus with the presentation of exhibitions that are international in scope—such as The Global Africa Project (2010) and the upcoming New Territories: Global Latin America (2014). Out of Hand: Materializing the Postdigital is the first in-depth survey dedicated to exploring the impact of computer-assisted methods of production on contemporary art, architecture, and design. Exploring the latest trends in digital fabrication, this landmark exhibition brings together more than 120 works of sculpture, jewelry, fashion, and furniture by 85 artists, architects, and designers from 20 countries to examine how new technologies are pushing the boundaries of artistic expression and creation. The cutting-edge works highlighted in the exhibition demonstrate the reciprocal relationship between art and technological innovation as well as materials and new techniques—an area of exploration that has long been at the core of MAD’s mission and curatorial program. Three works created using Materialise platforms are featured in the exhibition—Volume.MGX lamp by Dror Benshetrit, Platform Wertel Oberfell by Gernot Oberfell and Jan Wertel, and Bust of Lady Belhaven (after Samuel Joseph) by Stephen Jones—as well as two works by Frank Stella—K.179 and K.162 from The Scarlatti K Series. The MAD collection has also grown three-fold and in synergy with its mission, with important acquisitions that illustrate imaginative approaches to transforming materials. MAD has grown its educational and public programming to include Open Studios; K–12 programs like MADlab, Arts Reach, and Artslife; and film, performance, residencies, and talks. Its pioneering Open Studios have provided a meeting point for artists and museumgoers to converse, offering an educational space that fosters dialogue between artists, designers, and the public. Every day, the Open Studios host artists and designers as they produce their work in a public environment. The Open Studios program supports the development of original works through special projects and residencies. Meanwhile, MAD’s robust K–12 programming has set a new model and standard for American museums, maintaining its commitment to act as a teaching resource and providing in-depth, hands-on learning experiences to students in New York. Some of these programs include: MADlab, MAD’s signature school program that offers a tour and hands-on workshop in the Museum’s classrooms; Arts Reach, providing arts education to at-risk youth; and Artslife, MAD’s paid summer program for high school students. ABOUT THE HONOREES Wilfried Vancraen founded Materialise in July 1990. Vancraen holds a Master in electro-mechanical engineering and first discovered 3D printing while working as a research engineer and consultant at the Research Institute of the Belgian Metalworking Industry. His passion for this new technology and his belief that it could create products and improve lives fueled and became the mission for Materialise. For more than two decades, Materialise has worked with designers and scientists, using 3D printing, in order to further research and application in fields such as biomedicine, with face transplants, reconstructive bone procedures, and 3D medical imaging. The company also collaborates with top designers to create unique 3D-printed design objects, three of which are featured in MAD’s Out of Hand: Materializing the Postdigital exhibition, by Dror Benshetrit, Gernot Oberfell and Jan Wertel, and Stephen Jones. The company also works with design engineers to help improve consumer goods—from cellphone covers to luggage to pens—through customized 3D printed parts. Frank Stella is one of the leading figures of Post-Painterly Abstraction in the last century and a legendary artist and innovator in post-war and contemporary art. He paved the way for the Minimalist movement, painting canvases in a single primary color or layering them with hard-edged stripes and geometric shapes, at the height of the Pop art movement. Some of his most famous paintings include: The Black Paintings (1959–60), in which he penciled lines on raw canvases and filled
Load more

Recommended publications
  • The Factory of Visual
    ì I PICTURE THE MOST COMPREHENSIVE LINE OF PRODUCTS AND SERVICES "bey FOR THE JEWELRY CRAFTS Carrying IN THE UNITED STATES A Torch For You AND YOU HAVE A GOOD PICTURE OF It's the "Little Torch", featuring the new controllable, méf » SINCE 1923 needle point flame. The Little Torch is a preci- sion engineered, highly versatile instrument capa- devest inc. * ble of doing seemingly impossible tasks with ease. This accurate performer welds an unlimited range of materials (from less than .001" copper to 16 gauge steel, to plastics and ceramics and glass) with incomparable precision. It solders (hard or soft) with amazing versatility, maneuvering easily in the tightest places. The Little Torch brazes even the tiniest components with unsurpassed accuracy, making it ideal for pre- cision bonding of high temp, alloys. It heats any mate- rial to extraordinary temperatures (up to 6300° F.*) and offers an unlimited array of flame settings and sizes. And the Little Torch is safe to use. It's the big answer to any small job. As specialists in the soldering field, Abbey Materials also carries a full line of the most popular hard and soft solders and fluxes. Available to the consumer at manufacturers' low prices. Like we said, Abbey's carrying a torch for you. Little Torch in HANDY KIT - —STARTER SET—$59.95 7 « '.JBv STARTER SET WITH Swest, Inc. (Formerly Southwest Smelting & Refining REGULATORS—$149.95 " | jfc, Co., Inc.) is a major supplier to the jewelry and jewelry PRECISION REGULATORS: crafts fields of tools, supplies and equipment for casting, OXYGEN — $49.50 ^J¡¡r »Br GAS — $49.50 electroplating, soldering, grinding, polishing, cleaning, Complete melting and engraving.
    [Show full text]
  • Smithsonian American Art Museum
    Smithsonian American Art Museum Chronological List of Past Exhibitions and Installations on View at the Smithsonian American Art Museum and its Renwick Gallery 1958-2016 ■ = EXHIBITION CATALOGUE OR CHECKLIST PUBLISHED R = RENWICK GALLERY INSTALLATION/EXHIBITION May 1921 xx1 American Portraits (WWI) ■ 2/23/58 - 3/16/58 x1 Paul Manship 7/24/64 - 8/13/64 1 Fourth All-Army Art Exhibition 7/25/64 - 8/13/64 2 Potomac Appalachian Trail Club 8/22/64 - 9/10/64 3 Sixth Biennial Creative Crafts Exhibition 9/20/64 - 10/8/64 4 Ancient Rock Paintings and Exhibitions 9/20/64 - 10/8/64 5 Capital Area Art Exhibition - Landscape Club 10/17/64 - 11/5/64 6 71st Annual Exhibition Society of Washington Artists 10/17/64 - 11/5/64 7 Wildlife Paintings of Basil Ede 11/14/64 - 12/3/64 8 Watercolors by “Pop” Hart 11/14/64 - 12/13/64 9 One Hundred Books from Finland 12/5/64 - 1/5/65 10 Vases from the Etruscan Cemetery at Cerveteri 12/13/64 - 1/3/65 11 27th Annual, American Art League 1/9/64 - 1/28/65 12 Operation Palette II - The Navy Today 2/9/65 - 2/22/65 13 Swedish Folk Art 2/28/65 - 3/21/65 14 The Dead Sea Scrolls of Japan 3/8/65 - 4/5/65 15 Danish Abstract Art 4/28/65 - 5/16/65 16 Medieval Frescoes from Yugoslavia ■ 5/28/65 - 7/5/65 17 Stuart Davis Memorial Exhibition 6/5/65 - 7/5/65 18 “Draw, Cut, Scratch, Etch -- Print!” 6/5/65 - 6/27/65 19 Mother and Child in Modern Art ■ 7/19/65 - 9/19/65 20 George Catlin’s Indian Gallery 7/24/65 - 8/15/65 21 Treasures from the Plantin-Moretus Museum Page 1 of 28 9/4/65 - 9/25/65 22 American Prints of the Sixties 9/11/65 - 1/17/65 23 The Preservation of Abu Simbel 10/14/65 - 11/14/65 24 Romanian (?) Tapestries ■ 12/2/65 - 1/9/66 25 Roots of Abstract Art in America 1910 - 1930 ■ 1/27/66 - 3/6/66 26 U.S.
    [Show full text]
  • Introduction
    Ambrosio – Cubism and the Fourth Dimension To appear in Interdisciplinary Science Reviews, vol. 41, no. 2-3 Please cite from the published version Cubism and the Fourth Dimension Chiara Ambrosio Department of Science and Technology Studies UCL [email protected] Abstract: This article revisits the historiography of Cubism and mathematics, with a particular focus on Pablo Picasso’s uses of geometry at the end of the first decade of the twentieth century. In particular, I consider the artistic appropriation of the concept of the fourth dimension, and its pictorial uses as a conduit for a conceptual reformulation of pictorial space. I investigate Picasso’s distinctive adoption of this geometric framework in relation to one of his 1909 experiments across painting and photography, and advocate the possibility of drawing novel historiographical lessons from Picasso’s work - lessons that bring the historiography of Cubism in a closer dialogue with recent debates in the historiography of science. I conclude with an appeal to consider the continued relevance of this past experiment in art and science when assessing the contemporary drive toward art-science collaborations, and use the case of Cubism and the fourth dimension as a springboard for a critical reflection on the future directions of art-science collaborations. Keywords: Cubism, Fourth Dimension, Art and Science, Interdisciplinarity Introduction “The new painters do not claim to be geometricians any more than painters of the past did. But it is true that geometry is to the plastic arts what grammar is to the art of the writer. Nowadays scientists have gone beyond the three dimensions of Euclidean geometry.
    [Show full text]
  • Press Release for Editing
    Moderne Gallery Is Making A Move! - as always...looking forward, taking the lead ---- From Old City to Port Richmond, Philadelphia, in January 2019 Moderne Gallery, recognized internationally as the prime gallery for studio craft furniture, and as the leading Nakashima dealer in the world, is moving to a new center for high end design, art and antiques in the Port Richmond section of Philadelphia, as of January 2019. The new showroom is not open to the public as of yet, but can be visited by appointment only. It is set to open in the Spring of 2019. Moderne Gallery will be the first tenant in the Showrooms at 2220, a newly restored former mill at 2220 East Allegheny Avenue, (Port Richmond) Philadelphia, PA 19134. The 100,000 square-foot building is owned and managed by Jeffrey Kamal and Joe Holahan, co-owners of Kamelot Auction Company, which holds its auctions and has its offices in the building. "We are not downsizing, or giving up our showroom concept with special exhibitions," says Moderne Gallery founder/director Robert Aibel. "And certainly we will continue to build our business through internet sales." Joshua Aibel, Robert's son, is now co-director of Moderne Gallery and helping to develop this combination of sales concepts. "We see this as an opportunity to move to a setting that presents a comprehensive, easily accessible major art, antiques and design center for our region, just off I-95," says Josh Aibel. "The Showrooms at 2220 offer an attractive new venue with great showroom spaces and many advantages for our storage and shipping requirements." Moderne Gallery's new showrooms are being designed by the gallery's longtime interior designer Michael Gruber of Philadelphia.
    [Show full text]
  • Process & Presence
    ProCeSS & PreSenCe: Selections from the Museum of Contemporary Craft March 15-July 4, 2011 hroughout history, hand skills Most inDiviDuals now learn craft processes and the ability to make things have been in academic environments, rather than within necessary for human survival. Before the the embracing context of ethnic or other cultural advent of industrial mechanization and traditions. The importance of individual expression the dawn of the digital age, all members of and experimentation has caused the contemporary Tany given community were craftspeople. Everything craft world to come alive with innovation and ever- that was necessary for life—clothing, tools and home changing interpretations of traditional styles, objects furnishings—was made by hand. In America, diverse and techniques. In recent years, the hallowed and populations—Native peoples, immigrant groups and often contentious ideological separation of fine art and regional populations—have preserved and shared craft has begun to ease. Some craft artists have been ancient and evolving traditions of making functional embraced by the fine art community and included in objects for everyday use. the academic canon. Many colleges and universities During the twentieth century, the mass now incorporate crafts education into their overall arts production of utilitarian wares removed the need for curricula and work by studio craft artists routinely functional handmade objects from modern society. appears in art galleries and art museums. This ultimately gave rise to the studio craft movement. PortlanD’s MuseuM of contemporary craft Unlike traditional crafts, studio crafts include visual has long been an important proponent of the studio values as a primary function of creative expression.
    [Show full text]
  • Rise of Modernism
    AP History of Art Unit Ten: RISE OF MODERNISM Prepared by: D. Darracott Plano West Senior High School 1 Unit TEN: Rise of Modernism STUDENT NOTES IMPRESSIONISM Edouard Manet. Luncheon on the Grass, 1863, oil on canvas Edouard Manet shocking display of Realism rejection of academic principles development of the avant garde at the Salon des Refuses inclusion of a still life a “vulgar” nude for the bourgeois public Edouard Manet. Olympia, 1863, oil on canvas Victorine Meurent Manet’s ties to tradition attributes of a prostitute Emile Zola a servant with flowers strong, emphatic outlines Manet’s use of black Edouard Manet. Bar at the Folies Bergere, 1882, oil on canvas a barmaid named Suzon Gaston Latouche Folies Bergere love of illusion and reflections champagne and beer Gustave Caillebotte. A Rainy Day, 1877, oil on canvas Gustave Caillebotte great avenues of a modern Paris 2 Unit TEN: Rise of Modernism STUDENT NOTES informal and asymmetrical composition with cropped figures Edgar Degas. The Bellelli Family, 1858-60, oil on canvas Edgar Degas admiration for Ingres cold, austere atmosphere beheaded dog vertical line as a physical and psychological division Edgar Degas. Rehearsal in the Foyer of the Opera, 1872, oil on canvas Degas’ fascination with the ballet use of empty (negative) space informal poses along diagonal lines influence of Japanese woodblock prints strong verticals of the architecture and the dancing master chair in the foreground Edgar Degas. The Morning Bath, c. 1883, pastel on paper advantages of pastels voyeurism Mary Cassatt. The Bath, c. 1892, oil on canvas Mary Cassatt mother and child in flattened space genre scene lacking sentimentality 3 Unit TEN: Rise of Modernism STUDENT NOTES Claude Monet.
    [Show full text]
  • Craft Horizons AUGUST 1973
    craft horizons AUGUST 1973 Clay World Meets in Canada Billanti Now Casts Brass Bronze- As well as gold, platinum, and silver. Objects up to 6W high and 4-1/2" in diameter can now be cast with our renown care and precision. Even small sculptures within these dimensions are accepted. As in all our work, we feel that fine jewelery designs represent the artist's creative effort. They deserve great care during the casting stage. Many museums, art institutes and commercial jewelers trust their wax patterns and models to us. They know our precision casting process compliments the artist's craftsmanship with superb accuracy of reproduction-a reproduction that virtually eliminates the risk of a design being harmed or even lost in the casting process. We invite you to send your items for price design quotations. Of course, all designs are held in strict Judith Brown confidence and will be returned or cast as you desire. 64 West 48th Street Billanti Casting Co., Inc. New York, N.Y. 10036 (212) 586-8553 GlassArt is the only magazine in the world devoted entirely to contem- porary blown and stained glass on an international professional level. In photographs and text of the highest quality, GlassArt features the work, technology, materials and ideas of the finest world-class artists working with glass. The magazine itself is an exciting collector's item, printed with the finest in inks on highest quality papers. GlassArt is published bi- monthly and divides its interests among current glass events, schools, studios and exhibitions in the United States and abroad.
    [Show full text]
  • A Finding Aid to the Jan Butterfield Papers, 1950-1997, in the Archives of American Art
    A Finding Aid to the Jan Butterfield Papers, 1950-1997, in the Archives of American Art Megan McShea Funding for the processing of this collection was provided by the Council on Library and Information Resources "Hidden Collections" grant program. 2012 June 27 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Scope and Contents........................................................................................................ 3 Biographical / Historical.................................................................................................... 2 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 6 Series 1: Interviews and Lectures, 1959-1997......................................................... 6 Series 2: Writings, 1962-1997................................................................................ 21 Series 3: Project
    [Show full text]
  • Oral History Interview with Merryll Saylan, 2006 May 20-June 5
    Oral history interview with Merryll Saylan, 2006 May 20-June 5 Funding for this interview was provided by the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Merryll Saylan on May 20, June 1, and June 5, 2006. The interview took place at the Victoria and Albert Museum in London, and was conducted by Glenn Adamson for the Archives of American Art, Smithsonian Institution. This interview is part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. Merryll Saylan has reviewed the transcript and has made corrections and emendations. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview GLENN ADAMSON: So, hello. I'm Glenn Adamson and I'm going to be the interviewer today with Merryll Saylan, who is a woodturner and artist from — well, now in Marin County, California, San Rafael. And we are here at the Victoria and Albert Museum [London], on May 20, 2006. So, Merryll, would you like to say hi? MERRYLL SAYLAN: [Laughs] It's good to see you, Glenn. MR. ADAMSON: I thought we might start just by going over some biographical details; so maybe you could tell me where and when you were born.
    [Show full text]
  • “Just What Was It That Made U.S. Art So Different, So Appealing?”
    “JUST WHAT WAS IT THAT MADE U.S. ART SO DIFFERENT, SO APPEALING?”: CASE STUDIES OF THE CRITICAL RECEPTION OF AMERICAN AVANT-GARDE PAINTING IN LONDON, 1950-1964 by FRANK G. SPICER III Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Ellen G. Landau Department of Art History and Art CASE WESTERN RESERVE UNIVERSITY May, 2009 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Frank G. Spicer III ______________________________________________________ Doctor of Philosophy candidate for the ________________________________degree *. Dr. Ellen G. Landau (signed)_______________________________________________ (chair of the committee) ________________________________________________Dr. Anne Helmreich Dr. Henry Adams ________________________________________________ Dr. Kurt Koenigsberger ________________________________________________ ________________________________________________ ________________________________________________ December 18, 2008 (date) _______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. Table of Contents List of Figures 2 Acknowledgements 7 Abstract 12 Introduction 14 Chapter I. Historiography of Secondary Literature 23 II. The London Milieu 49 III. The Early Period: 1946/1950-55 73 IV. The Middle Period: 1956-59: Part 1, The Tate 94 V. The Middle Period: 1956-59: Part 2 127 VI. The Later Period: 1960-1962 171 VII. The Later Period: 1963-64: Part 1 213 VIII. The Later Period: 1963-64: Part 2 250 Concluding Remarks 286 Figures 299 Bibliography 384 1 List of Figures Fig. 1 Richard Hamilton Just What Is It That Makes Today’s Homes So Different, So Appealing? (1956) Fig. 2 Modern Art in the United States Catalogue Cover Fig. 3 The New American Painting Catalogue Cover Fig.
    [Show full text]
  • Sam Maloof How a Home Craftsman Became One of the Best There Is by Rick Mastelli
    Sam Maloof How a home craftsman became one of the best there is by Rick Mastelli all to mind the do-it-yourself magazines of the late 1940s, c offering plans for boxy Masonite built-ins, and you'll sense the context in which Sam Maloof began designing and making furniture for a living. Picture too the invasion of the Danish Modern, the advent of the "clean, functional, but elegant line," and you will have the context of Maloof's first marketplace. But you will have a hard time tracing the influ- ences on his work. For one thing, Maloof claims not to be conscious of any influence. He has had no formal training in either woodworking or furniture design. The subtle but steady refinement of his pieces began in a backyard workshop more than 30 years ago; they predate his first contact with the Danish furniture his work seems in touch with. Numerous ar- ticles on him in craft magazines and Sunday home supple- ments have described his work as "Western," "Gothic," "classic" or "organic," but Maloof is no student of art history. He was asked once by an admirer was he Egyptian—"Your chairs remind me of ancient Egyptian chairs." No, Maloof is not Egyptian (his parents were Lebanese), nor was it until after this remark that he took a close look at the Tutan- Left, Maloof drives assembly screws into a brown oak desk. Below, three desks await crating outside Maloof's home and shop in Alta Loma, Calif. Variations on trestle structure, pinned joints and the adroit use of sapwood for graphic effect (all of these are walnut) characterize his work.
    [Show full text]
  • Exclusive Tour: the Dorothy & George Saxe Collection of Glass and Ceramic
    Exclusive tour: The Dorothy & George Saxe Collection of Glass and Ceramic Tuesday, August 30, 2016 1:00pm - 5:00pm Don’t miss this opportunity to see the collection of Dorothy & George Saxe! Participants will meet at the de Young for a private tour of the collection currently on exhibition. Once finished, we will go to the café for a no-host lunch and lecture on glass: short history, primary glass types, Kiki Smith. Spring (2009). Blown glass installation. Dimensions variable. methodologies, markets and values, by fellow appraiser, art advisor, and expert on contemporary glass, Micaë- Organized by: la van Zwoll. Lindsay Nivens-Frosini Accredited Member Appraisers Association of America Finally, participants will have the exclusive opportunity to visit the Saxe Led by: residence to view more of the private Micaëla van Zwoll collection. Art Advisor | Appraiser Micaëla Contemporary Projects Over the last two decades, George and Dorothy Saxe of Menlo Park and San Francisco have formed one of the Program Schedule: premier collections of contemporary 1:00pm - 2:30pm craft in the United States. The Saxe de Young Museum Golden Gate Park Collection, containing works in glass, 50 Hagiwara Tea Garden Drive ceramic, wood, fiber, and metal, is San Francisco, CA 94118 distinguished by both its high quality and its depth, with many major artists 2:30pm - 3:30pm represented by works from different Lunch & Lecture (no-host) de Young Café periods in their careers. Prominent Bay Area and West Coast artists 4:00pm - 5:00pm represented include Robert Arneson, Saxe Residence visit Dale Chihuly, Viola Frey, Sam Maloof, Manuel Neri, Peter Voulkos, and Beatrice Wood.
    [Show full text]